The Hollywood War Film

Binns, Daniel

doi:10.2307/j.ctv36xw1hm

Cited by 5 publications

(1 citation statement)

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“…What happens when popular Hollywood films conceal the contested politics of torture? Cinematic representations of war and the post-9/11 world have attracted a wide range of researchers in different disciplines (Al-Rawi, 2014;Binns, 2017;Dodds, 2008;Purse and Hellmich, 2017;Westwell, 2014). Films are indeed a key site of popular culture where contested policies like torture are represented, often with the effect of reproducing and securing consent for such policies (Westwell, 2014: 225).…”

Section: Popular Culture and The Study Of Torturementioning

confidence: 99%

Representing torture in Zero Dark Thirty (2012): Popular culture as a site of norm contestation

Schlag

2019

Media, War & Conflict

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The global war on terror (GWOT) is undoubtedly the most recent case where a government authorized ‘enhanced interrogation techniques’, a euphemism for torture. In addition to shocking stories and photographs from Guantánamo, Abu Ghraib and CIA black site prisons, popular culture assists in the production of torture’s public image and indicates a site of norm contestation. Therefore, the aim of this article is threefold. First, the author shows that Zero Dark Thirty (2012, dir. Kathryn Bigelow) is constitutive for the public image of torture and its meaning-in-use. Second, she argues that the film’s representation of torture works as a popular site of contesting the anti-torture norm. Finally, she reflects on the continuum between popular culture and the politics of torture.

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Section: Popular Culture and The Study Of Torturementioning

confidence: 99%

Representing torture in Zero Dark Thirty (2012): Popular culture as a site of norm contestation

Schlag

2019

Media, War & Conflict

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American War Adventure and the Generic Pleasures of Military Violence: Clint Eastwood's American Sniper

Monnet¹

2018

The J of Popular Culture

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Turbans, Veils, and Villainy on Television: Stargate SG1 and Merlin

Bullock¹

2021

ReOrient

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In this article I investigate why two shows from different television genres in two different countries resort to nearly identical costume choices to convey villainy. I argue that that the directors, writers, and costume designers for the US science fiction show Stargate SG1 and BBC's Merlin use orientalist tropes of the veil as exotic, oppressed or threatening as costumes for their non-Muslim characters because of the centuries-long association in Western culture between Muslim veiling and the Other, while differentiating between acceptable and unacceptable headgear and face coverings. I draw on Said's Orientalism, Hall's Encoding/Decoding, medievalism, and the theory of the ethnonormative viewer to make this case. The “veil” has become an iconic negative sign in the West wholly distinct from meanings given to it by veiled Muslim women themselves. I suggest that anti-veiling ideology in Western publics stems in part from negative connotations given to it in television shows like Stargate SG1 and Merlin.

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The Hollywood War Film

Cited by 5 publications

References 0 publications

Representing torture in Zero Dark Thirty (2012): Popular culture as a site of norm contestation

Representing torture in Zero Dark Thirty (2012): Popular culture as a site of norm contestation

American War Adventure and the Generic Pleasures of Military Violence: Clint Eastwood's American Sniper

Turbans, Veils, and Villainy on Television: Stargate SG1 and Merlin

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